DOCSLIB.ORG

Broadway Musical| a Guide to High School Production

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Broadway Musical| a Guide to High School Production University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1963 Broadway musical| A guide to high school production Robert Cedric Colness The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Colness, Robert Cedric, "Broadway musical| A guide to high school production" (1963). Graduate Student Theses, Dissertations, & Professional Papers. 1712. https://scholarworks.umt.edu/etd/1712 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE BROADWAY MUSICAL: A GUIDE TO HIGH SCHOOL PRODUCTION by R. CEDRIC COLNESS B.M, Montana State University, Presented in partial fnlfillment of the requirements for the degree of Master of Music MONTANA STATE UNIVERSITY 1963 Approved by: Chairman, Board of Exam , Graduate School MAY 3 1 1963 Late UMI Number: EP35221 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT (UMMTUtion PiM M ng UMI EP35221 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8106-1346 TO The 1959-61 Custer County High School Concert Choir, Miles City, Montana without whose talent and enthusiasm this thesis would never have been possible. XX TABLE OF CONTENTS CHAPTER PAGE ACKNOWLEDGMENTS.................................................... v FOREWORD ......................................................... vi I.. PLANNING A MUSICAL S H O W ...................................... 1 The Yardstick 1 The Cast 1 Production Costs 2 The Orchestra 2 Technical Aspects 3 Community Tastes 3 Summary 3 II. THE PRODUCTION STAFF ............................ 5 The Stage Director 6 The Musical Director 8 The Choreographer 9 The Technical Director 10 The Stage Manager 11 The Publicity Director 11 The "One Man" Show 12 III. THE CAST ..................................................... 13 Selecting The Cast 13 Cast Discipline, On or Off Stage 17 IV. THE HIGH SCHOOL STUDENT AND THE BROADWAY MUSICAL ............... 20 The Vocal Requirements of a Musical Show 20 High School Choreography 23 V. THE PROBLEM OF A PIT ORCHESTRA ................................ 2? Choosing a Show with the Orchestra in Mind 27 VI. SCHOOL THEATRE AND THE COMMUNITY .............................. 32 VII. PUTTING THE SHOW T O G E T H E R ...................................... 38 Rehearsal Scheduling 38 Stage Rehearsals 39 Vocal Rehearsals iiO Orchestral Rehearsals ijl Choreography Rehearsals Ijl Technical Rehearsals ij.2 The First Readings A3 Early Blocking A5 Cast Self-Criticism A8 Building a Professional Attitude 32 The Early Run-Throughs 53 ixx CHAPTER PAGE Dress Rehearsals 56 Opening Night and the Show's Run 58 VIII. THE TECHNICAL A S P E C T S ........................................ 60 The Problem of Sets 60 Lighting 66 Make-up 69 Borrowing Set Pieces and Stage Properties Costumes 75 Tickets, Programs, and Publicity 77 IX. WHERE TO GET I T .............................................. 82 Leasing Agents 82 Costumes 83 Publicity 83 Make-up Supplies 81* Lighting Equipment 81* Scenery 85 Fabrics 85 Package Musical Shows 85 BIBLIOGRAPHT ................................................... ... XV âCMQfWLEDGMEMTS The writer is indebted to John Vian, Music Theatre International, Gerald H. Doty, Firman H. Brown, Jr., George Lewis, and John Lester for their assistance and advice. Special thanks to Judith Colness for her information on high school choreography, and for her patient editing and typing. FOREWORD Our high schools possess a wealth of talented and eager youngsters who have the ability to rise to the occasion should they be given the opportunity to participate in the production of a Broadway musical. Can a high school successfully produce a Broadway show? The answer is obvious, for each year hundreds of schools successfully present the best that Broad­ way has to offer. Many more schools could present Broadway musical productions. There are far too many music and drama teachers who hesitate to undertake a musical production because they feel that the school lacks the necessary talent or facilities. This is the wrong attitude, for if a high school has a thriving music department and the usual stage facilities found in most schools, a Broadway musical can be successfully presented. There is a great variety of musical shows available with indigenous themes which the American public will admire for as long as the Italian public admires the works of Verdi. Most of these musicals readily lend themselves to a high school production. Great strides have been taken that make it possible, and not overly difficult, for schools to gain the educa­ tional and financial rewards that are the benefits of these stage productions. Theatrical business concerns are available to high schools in their endeavors to produce these shows. Publishers, costume rental agencies, make-up com­ panies, theatrical equipment companies, publicity services and other agencies are willing and able to provide what is needed— all for a surprisingly nominal fee. No would-be high school director should feel that he is taking a large step into the unknown if he decides to do a musical show. vi The key to the success of a high school production lies not with the innumerable aids available to the high school director; rather, success will come to the director who truly desires to produce a show. This cannot be a halfhearted desire, it must be an enthusiastic conviction. If the would- be director has the desire, and if he can inject his enthusiasm into faculty and students alike, then the production of a musical show will probably become a reality. The question is often asked: "Of what value is a high school musical production?" The answer to this question lies particularly with the fact that the venture is an educational one. For the talented, as well as for the average youngster, a musical production offers a perfect opportunity to act, sing, and dance professional material before a live and responsive audience. No student can come out of a theatrical adventure without having had his emotional, intellectual, physical, and mental horizons broadened. Under the wise guidance of a capable faculty production staff, participation in a musical production will certainly serve to expand a student’s cultural and social appreciation. vix CHAPTER I PIANNING A MUSICAL SHOP The Yardstick Once a school group has decided to produce a musical show, the first consideration to be faced is, of course, "What show shall we do?" This can be a perplexing problem. It is absolutely imperative that any show undertaken, regardless of budget or talent limitations, should be done well and be a joy to participants and audiences alike. Without this paramount goal in mind, a school is better off not attempting to stage a musical production. There are five general categories to be considered in the choice of a musical— the requirements of the cast, the cost of the production, the orchestra, the difficulty of production, and the tastes of the community. The director of any show, amateur or professional, faces all of the above categories when choosing a suitable show. Let us consider each category and its relation to the final choice of a musical show for a high school production. The Cast The cast requirements must receive first consideration. As a director looks at a prospective show, he must ask himself these vital questionsÎ l) Does the show require a large or a small cast? 2) Does the show require well trained voices for the major singing roles, or can the average high school vocalist handle the part? 3) Can students success­ fully cope with the character roles? ii) How much choreography is necessary? and 5) Will the cast be able to rise to the occasion? If the director can 1 2 favorably answer these questions, then he is well on his way toward the choice of a show. Production Costs Estimating production costs is a vital aspect in the choice of a musical show. The following items should serve as the basis for the estimation of all major production expenses: 1. Performance royalties and fees for rental of dramatic, vocal, and orchestral material. 2. Construction and painting of scenery. 3. Rental or purchase of lighting equipment, sound effects, public address system, or other stage and technical equipment. U. Publicity, advertising and the printing of tickets and programs. 5. Rental or purchase of costumes and make-up. 6 . Rental or purchase of set pieces and stage properties. With this expense guide, the director should estimate the cost of the production. The director will find that some expense items can be accurately gauged. Cost of royalty fees, rental of musical, dramatic, and orchestral materials, and costume rental can be obtained from firms dealing with these items. Estimation of other expenses must be made by consultation with local firms involved. The show's budget, determined by cost estimation, will depend on what the school group can afford. Larger high schools with greater audience resources may be able to afford an elaborate production, while smaller schools may have to be content with much less. Both large and small schools can achieve and enjoy satisfying results from a job well done. The Orchestra Next, those concerned with the choice of a musical must consider the orchestral requirements.
Load more

Recommended publications
  • “Pilot” Written by Corinne Kingsbury Directed by Scott Ellis FINAL
    FAM “Pilot” Written by Corinne Kingsbury Directed by Scott Ellis FINAL COLLATED – 04/24/18 This script is the property of CBS Studios Inc. and Kapital Productions, LLC, and may not be copied or distributed without the express written permission of CBS Studios Inc. and Kapital Productions, LLC. This copy of the script remains the property of CBS Studios Inc. and Kapital Productions, LLC. It may not be sold or transferred and it must be returned to CBS Studios Inc. and/or Kapital Productions, LLC promptly upon demand. THE WRITING CREDITS MAY NOT BE FINAL AND SHOULD NOT BE USED FOR PUBLICITY OR ADVERTISING PURPOSES WITHOUT FIRST CHECKING WITH THE TELEVISION LEGAL DEPARTMENT CONFIDENTIALITY NOTICE You are being given a copy of this document for a particular permitted purpose, and may only use it for that purpose. Except as may be directly necessary to your proposed or actual duties, you may not make physical or digital copies of this document or share a copy of it or the contents of it (or a summary of the contents) with others. This document is protected by the laws governing copyright and confidential information. Kapital Productions, LLC (“Producer”) has strict policies with respect to protecting our scripts, plot lines, plot twists and related Production materials and/or information (the “Confidential Information”). Producer and the applicable network or other exhibitor derive independent value from the Confidential Information not being leaked in advance to the public, the media or anyone not part of the core production team. A condition of your access to the Confidential Information is that you must keep it confidential.
    [Show full text]
  • San Diego Symphony Frequently Asked Questions
    SAN DIEGO SYMPHONY FREQUENTLY ASKED QUESTIONS San Diego Symphony performed its first concert on December 6, 1910 in the Grand Ballroom of the then-new U.S. Grant Hotel. Now, the San Diego Symphony has grown into one of the top orchestras in the country both artistically and financially. With a current budget of $20 million, the San Diego Sym- phony is now placed in the Tier 1 category as ranked by the League of American Orchestras. The San Diego Symphony owes a deep debt of gratitude to Joan and Irwin Jacobs for their extraordinary generosity, kindness and friendship. Their support and vision has overwhelmingly contributed to making the San Diego Symphony a leading force in San Diego’s arts and cultural community and a source of continuing civic pride for all San Diegans. Artistic Q. How many musicians are there in the San Diego Symphony? A. There are 82 full-time, contracted San Diego Symphony musicians. However, depending on the particular piece of music being performed, you may see more musicians on stage. These musicians are also auditioned and hired on a case-by-case basis. You may also see fewer musicians if the particular piece of music calls for less than the full complement. Q. How are the musicians selected? A. Musicians are selected through a rigorous audition process which is comprised of an orchestra committee and the music director. Open positions are rare. When an audition is held, it is common to have 100 to 150 musicians competing for the open position. Q. Where have the musicians received their training? A.
    [Show full text]
  • Intellectual Property Rights in Tattoos, Makeup, and Other Body Art
    Written on the Body: Intellectual Property Rights in Tattoos, Makeup, and Other Body Art Thomas F. Cotter* Angela M. Mirabole TABLE OF CONTENTS I. Introduction ................................................................................ 98 II. C opyright Issues ........................................................................... 103 A . Ow nership ................................................................................. 104 B. UnauthorizedReproductions of CopyrightedBody Art ............ 108 C. UnauthorizedAdaptations and Violations of Moral Rights ...... 111 D . Body Art That Infringes............................................................. 117 E . R em edies .................................................................................... 118 III. Tradem ark Issues ......................................................................... 123 IV . Publicity Issues ........................................................................... 131 V . C onclusion .................................................................................... 138 * Professor of Law and Director of the Intellectual Property Program, University of Florida Fredric G. Levin College of Law. ** J.D. 2003, University of Florida Fredric G. Levin College of Law; Associate, Conroy, Simberg, Gannon, Krevans & Abel, West Palm Beach, Florida, beginning Fall 2003. We thank Gabriel Kotch and Elizabeth Scheffler for their insightful comments and criticism. Any errors that remain are ours. 98 UCLA ENTERTA[NMENT LAW REVIEW [Vol. 10:2 I. INTRODUCTION
    [Show full text]
  • Apr-May 1980
    MODERN DRUMMER VOL. 4 NO. 2 FEATURES: NEIL PEART As one of rock's most popular drummers, Neil Peart of Rush seriously reflects on his art in this exclusive interview. With a refreshing, no-nonsense attitude. Peart speaks of the experi- ences that led him to Rush and how a respect formed between the band members that is rarely achieved. Peart also affirms his belief that music must not be compromised for financial gain, and has followed that path throughout his career. 12 PAUL MOTIAN Jazz modernist Paul Motian has had a varied career, from his days with the Bill Evans Trio to Arlo Guthrie. Motian asserts that to fully appreciate the art of drumming, one must study the great masters of the past and learn from them. 16 FRED BEGUN Another facet of drumming is explored in this interview with Fred Begun, timpanist with the National Symphony Orchestra of Washington, D.C. Begun discusses his approach to classical music and the influences of his mentor, Saul Goodman. 20 INSIDE REMO 24 RESULTS OF SLINGERLAND/LOUIE BELLSON CONTEST 28 COLUMNS: EDITOR'S OVERVIEW 3 TEACHERS FORUM READERS PLATFORM 4 Teaching Jazz Drumming by Charley Perry 42 ASK A PRO 6 IT'S QUESTIONABLE 8 THE CLUB SCENE The Art of Entertainment ROCK PERSPECTIVES by Rick Van Horn 48 Odd Rock by David Garibaldi 32 STRICTLY TECHNIQUE The Technically Proficient Player JAZZ DRUMMERS WORKSHOP Double Time Coordination by Paul Meyer 50 by Ed Soph 34 CONCEPTS ELECTRONIC INSIGHTS Drums and Drummers: An Impression Simple Percussion Modifications by Rich Baccaro 52 by David Ernst 38 DRUM MARKET 54 SHOW AND STUDIO INDUSTRY HAPPENINGS 70 A New Approach Towards Improving Your Reading by Danny Pucillo 40 JUST DRUMS 71 STAFF: EDITOR-IN-CHIEF: Ronald Spagnardi FEATURES EDITOR: Karen Larcombe ASSOCIATE EDITORS: Mark Hurley Paul Uldrich MANAGING EDITOR: Michael Cramer ART DIRECTOR: Tom Mandrake The feature section of this issue represents a wide spectrum of modern percussion with our three lead interview subjects: Rush's Neil Peart; PRODUCTION MANAGER: Roger Elliston jazz drummer Paul Motian and timpanist Fred Begun.
    [Show full text]
  • DRAMATURGY GUIDE School of Rock: the Musical the National Theatre January 16-27, 2019
    DRAMATURGY GUIDE School of Rock: The Musical The National Theatre January 16-27, 2019 Music by Andrew Lloyd Webber Book by Julian Fellowes Lyrics by Glenn Slater Based on the Paramount Film Written by Mike White Featuring 14 new songs from Andrew Lloyd Webber and all the original songs from the movie Packet prepared by Dramaturg Linda Lombardi Sources: School of Rock: The Musical, The Washington Post ABOUT THE SHOW Based on the hit film, this hilarious new musical follows Dewey Finn, a failed, wannabe rock star who poses as a substitute teacher at a prestigious prep school to earn a few extra bucks. To live out his dream of winning the Battle of the Bands, he turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band. While teaching the students what it means to truly rock, something happens Dewey didn’t expect... they teach him what it means to care about something other than yourself. For almost 200 years, The National Theatre has occupied a prominent position on Pennsylvania Avenue – “America’s Main Street” – and played a central role in the cultural and civic life of Washington, DC. Located a stone’s throw from the White House and having the Pennsylvania Avenue National Historic Site as it’s “front yard,” The National Theatre is a historic, cultural presence in our Nation’s Capital and the oldest continuously operating enterprise on Pennsylvania Avenue. The non-profit National Theatre Corporation oversees the historic theatre and serves the DC community through three free outreach programs, Saturday Morning at The National, Community Stage Connections, and the High School Ticket Program.
    [Show full text]
  • February March 2016
    Tawas Bay Players Newsletter February/March 2016 TBP Tradition of Perchville Royalty Continues Congratulations Mike and Judy Merluzzi, the latest in a long line of Tawas Bay Players members to serve as Perchville King and Queen. This year was very special since last year’s king and queen TBP members Tim Haskin and Jolene Grusecki crowned Mike and Judy. Other TBP members to receive this honor were Carol Klenow, June Hudgins, Tara and Bill Western, Sharon Miller, Pat Ruster, Jo Ann Lutz, Brenda Chadwick, Deb DeBois, Judy Quarters, Lyle Groff and Keith Frank. Twelve Angry Jurors Our winter show, the fast paced courtroom drama, Twelve Angry Jurors opens this weekend. The show is directed by Deb DeBois assisted by Sharon Langley and is produced by June Hudgins. In addition to some of TBP’s finest actors this classic features many new faces. The cast includes Buck Weaver as the Judge, Terry Popielarz as the Guard and Sue Duncan, Beth Borowski, Chris Mundy, Eric Perrot, Wade Sydenstricker, Andre' De Wilde, Curtis Davenport, Michal Jacot, Le Roy Wenzel, Rodger McElveen, Waverley Monroe, and Sheilah Monroe as Jurors #1 through #12. We would like to welcome first time TBP performers Eric, Wade, Curtis, Waverley, and Sheliah to our stage and let Terry and Andre' know how happy we are to have them back. We finally get to see Sue Duncan on stage with a speaking part. Make sure you get a chance to see this thought provoking play. Performance dates are February 12, 13, 14, 18, 19, 20, & 21. Really Groovy Dinner Interrupted By Murder.
    [Show full text]
  • Hair: the Performance of Rebellion in American Musical Theatre of the 1960S’
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Winchester Research Repository University of Winchester ‘Hair: The Performance of Rebellion in American Musical Theatre of the 1960s’ Sarah Elisabeth Browne ORCID: 0000-0003-2002-9794 Doctor of Philosophy December 2017 This Thesis has been completed as a requirement for a postgraduate research degree of the University of Winchester MPhil/PhD THESES OPEN ACCESS / EMBARGO AGREEMENT FORM This Agreement should be completed, signed and bound with the hard copy of the thesis and also included in the e-copy. (see Thesis Presentation Guidelines for details). Access Permissions and Transfer of Non-Exclusive Rights By giving permission you understand that your thesis will be accessible to a wide variety of people and institutions – including automated agents – via the World Wide Web and that an electronic copy of your thesis may also be included in the British Library Electronic Theses On-line System (EThOS). Once the Work is deposited, a citation to the Work will always remain visible. Removal of the Work can be made after discussion with the University of Winchester’s Research Repository, who shall make best efforts to ensure removal of the Work from any third party with whom the University of Winchester’s Research Repository has an agreement. Agreement: I understand that the thesis listed on this form will be deposited in the University of Winchester’s Research Repository, and by giving permission to the University of Winchester to make my thesis publically available I agree that the: • University of Winchester’s Research Repository administrators or any third party with whom the University of Winchester’s Research Repository has an agreement to do so may, without changing content, translate the Work to any medium or format for the purpose of future preservation and accessibility.
    [Show full text]
  • 2021 Band Handbook
    Lincoln East Band Program 2021-2022 Policies & Procedures Handbook Mr. Tom Thorpe, Director [email protected] Ms. Nicole Shively, Assistant Director [email protected] Mr. Danny Layher, Assistant Director [email protected] Mrs. Jessica Riley, Color Guard Coordinator [email protected] 1 The Band Program Students at Lincoln East are very fortunate to have a wide variety of quality music ensemble opportunities. Below is a brief summary of each group and its role in the East Band Program. These ensembles can be subdivided into two major groups: Co-Curricular and Extra-Curricular. Co-curricular ensembles are classes that meet during the school day and you must be enrolled through Lincoln East to participate. You receive a grade for these ensembles and therefore must adhere to the grading requirements set forth by each class. Co-curricular classes often have outside-of-school time requirements at which students may be counted tardy, absent, or truant just as with any other class. Extra-Curricular ensembles are not classes. They typically meet outside the school day and in no way are required to be in Band at East. They are meant to be extra opportunities that are open to East Band students. Extra-curricular ensembles do not receive grades but may have an attendance policy, depending on the ensemble. You must be enrolled in Band class to participate in extra-curricular ensembles. CO-CURRICULAR ENSEMBLES 10th-12th Grade Marching Band This is the first quarter portion of Band at East for sophomores, juniors, and seniors. Students will be expected to attend a camp in the summer.
    [Show full text]
  • Jeremy Jordan
    Jeremy Jordan Jeremy Jordan was born and raised in Corpus Christi, Texas. He was always a singer, but at the age of 17, he accidentally fell in love with acting when cast as The Mute in the musical, The Fantasticks. After high school, Jeremy went on to study drama at Ithaca College and moved to New York City after graduating in 2007. After about a year of catering and waiting tables, he began to book some regional theatre work, and in early 2009, landed his first Broadway show, Rock of Ages. He was a swing, understudying several roles including the lead. In December of 2009, he left Rock of Ages to play Tony in Broadway's West Side Story. After West Side Story, Jeremy traveled to Sarasota, Florida to play Clyde Barrow opposite Laura Osnes in Bonnie & Clyde. He then headed to Atlanta, Georgia to shoot his first feature film, “Joyful Noise,” opposite Dolly Parton and Queen Latifah. Todd Graff, who wrote and directed the film, decided to cast him in the movie after coincidentally attending Jeremy's very first performance as the lead in Rock of Ages. In the fall of 2011, Jeremy fulfilled a childhood dream when he was cast as Jack Kelly in Disney's world premiere production of Newsies at Paper Mill Playhouse in New Jersey. He played Jack at night, and during the day rehearsed Bonnie & Clyde, which was coming to Broadway shortly after Newsies finished its regional run. Bonnie & Clyde opened on Broadway in November, 2011 but sadly would close after only 69 performances.
    [Show full text]
  • Nbc Smash & the Voice
    NBC SMASH & THE VOICE Problem: How does a network drive viewership in a highly competitive time slot? Solution: Use digital OOH formats to blanket the market on the air date to keep the shows top of mind. BACKGROUND NBC wanted to ensure high viewer rates for the second season of The Voice and the debut of its new show Smash. OBJECTIVE The planning agency was tasked with creating an out of home campaign to publicize the second season of The Voice, and the premiere of newcomer Smash, which would both debut on the Monday following Super Bowl Sunday. STRATEGY To ensure NBC dominated the Monday after the Super Bowl, the planning agency blanketed the full day Monday February 6, with Smash and The Voice tune- in messaging across out of home, supplementing the print, broadcast, radio, and digital efforts from agency partners. The planning agency, working with the client and digital specialists, identified 300+ digital OOH screens across 12 markets to supplement the existing efforts across print, broadcast, radio, and digital. The result was NBC’s “Day of Digital,” a national campaign that gave the network share of voice domination across all me- dia. On Monday, February 6, digital OOH advertisements for Smash and The Voice went live across the selected markets. PLAN DETAILS Markets: Los Angeles, New York, Chicago, Philadelphia, Atlanta, Boston, Minneapolis, Sacramento, Detroit, Phoenix, Dallas, Seattle Flighting Dates: January - February 2012 Out of Home Formats: New York and Los Angeles were the markets of primary focus and where the traditional OOH mostly ran: taxi tops, station dominations, wrapped double- decker buses, and a Times Square Spectacular in New York, while engaging a media mix of bus shelters, bulletins, and wrapped double-decker buses in Los Angeles.
    [Show full text]
  • The One-Act Play That Goes Wrong
    THE ONE-ACT PLAY THAT GOES WRONG by Henry Lewis, Jonathan Sayer & THE ONE-ACT Henry Shields SHIELDS — LEWIS, SAYER, WRONG GOES THAT PLAY THE ONE-ACT PLAY THAT 6 men, 2 women GOES WRONG You all know the classic murder mystery story: There has been an untimely death at a country manor, everyone is a suspect, and an inspector is set on the case to find who the culprit is. However, when this play is performed by the accident-prone thespians of BY HENRY LEWIS, The Cornley Polytechnic Drama Society, everything that can go wrong…does! The actors and crew battle against all odds to make JONATHAN SAYER it through to their final curtain call, with hilarious consequences! From Mischief, the creators of the West End smash Peter Pan Goes & HENRY SHIELDS Wrong, critically acclaimed TV series The Goes Wrong Show, and the Tony-winning Broadway hit The Play That Goes Wrong, this is the original one-act play which started everything going wrong. Over the course of an hour, expect a plethora of disasters from missed lines to falling props. Do you ever find out who murdered Charles Haversham? You’ll have to see for yourself! Also by Henry Lewis, Jonathan Sayer & Henry Shields THE PLAY THAT GOES WRONG DRAMATISTS PLAY SERVICE INC. DRAMATISTS PLAY SERVICE, INC. THE ONE-ACT PLAY THAT GOES WRONG Copyright © 2012, Mischief Worldwide Ltd. THE PLAY THAT GOES WRONG®, MISCHIEF® and MISCHIEF THEATRE® are trademarks and registered trademarks of Mischief Worldwide Ltd. www.mischiefworldwide.com All Rights Reserved THE ONE-ACT PLAY THAT GOES WRONG is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations.
    [Show full text]
  • Top 200 Most Requested Songs
    Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence® music request system at weddings & parties in 2013 RANK ARTIST SONG 1 Journey Don't Stop Believin' 2 Cupid Cupid Shuffle 3 Black Eyed Peas I Gotta Feeling 4 Lmfao Sexy And I Know It 5 Bon Jovi Livin' On A Prayer 6 AC/DC You Shook Me All Night Long 7 Morrison, Van Brown Eyed Girl 8 Psy Gangnam Style 9 DJ Casper Cha Cha Slide 10 Diamond, Neil Sweet Caroline (Good Times Never Seemed So Good) 11 B-52's Love Shack 12 Beyonce Single Ladies (Put A Ring On It) 13 Maroon 5 Feat. Christina Aguilera Moves Like Jagger 14 Jepsen, Carly Rae Call Me Maybe 15 V.I.C. Wobble 16 Def Leppard Pour Some Sugar On Me 17 Beatles Twist And Shout 18 Usher Feat. Ludacris & Lil' Jon Yeah 19 Macklemore & Ryan Lewis Feat. Wanz Thrift Shop 20 Jackson, Michael Billie Jean 21 Rihanna Feat. Calvin Harris We Found Love 22 Lmfao Feat. Lauren Bennett And Goon Rock Party Rock Anthem 23 Pink Raise Your Glass 24 Outkast Hey Ya! 25 Isley Brothers Shout 26 Sir Mix-A-Lot Baby Got Back 27 Lynyrd Skynyrd Sweet Home Alabama 28 Mars, Bruno Marry You 29 Timberlake, Justin Sexyback 30 Brooks, Garth Friends In Low Places 31 Lumineers Ho Hey 32 Lady Gaga Feat. Colby O'donis Just Dance 33 Sinatra, Frank The Way You Look Tonight 34 Sister Sledge We Are Family 35 Clapton, Eric Wonderful Tonight 36 Temptations My Girl 37 Loggins, Kenny Footloose 38 Train Marry Me 39 Kool & The Gang Celebration 40 Daft Punk Feat.
    [Show full text]